The Celts dominated
Mid and Western Europe for a thousand years. But it is only recently that the
importance of Celtic influence on the cultural, linguistic and artistic
development of Europe. The Celts as an identifiable race or ethnic group have
long since disappeared, except in places such as Ireland and the Scottish
Highlands. The Celts transmitted their culture orally, never writing down
history or facts. This accounts for the extreme lack of knowledge about them
prior to their contact with the classical civilizations of Greece and Rome.
They were generally well educated, particularly on topics such as religion,
philosophy, geography and astronomy. The Romans often employed Celtic tutors
for their sons. The bravery of the Celts in battle is legendary. They often
spurned body armour, going naked into battle. Celtic society was typically more
equal in terms of gender roles. Women were on more or less equal footing as
men, being accomplished warriors, merchants and rulers.
Celtic
knots or Celtic interlace are ornamental patterns primarily were used to
decorate Bible manuscripts, monuments (notably Celtic crosses and cross slabs)
and jewelry. They probably were used in other media such as wood carving and
textiles but these have not survived. Knotwork tradition in manuscript painting
possibly came to Ireland in the middle of the 7th century in manuscripts
illuminated by Coptic monks from Egypt or Syria . This is not a settled issue
as far as the art historians are concerned but the best evidence of style,
coloring and methods of construction I have seen points to Middle Eastern
prototypes. From Ireland the style spread to Scotland (in those days Pictland
and Dalriada), Wales and Northumbria and with missionaries of the Celtic Church
to Europe. Viking raiders later appropriated some of the design concepts into a
more chaotic style of animal interlace. Celtic knots
are complete loops with no end or beginning. Celtic animal interlace is
similar in construction but the cords terminate in feet, heads, tails ect. The
animal designs are very much influenced by older Saxon and Pictish traditions
of abstract beast forms that when combined with the new more sophisticated
knotwork of the Celtic designers became known as 'Hiberno-Saxon'. A good Celtic
artist will never leave a loose end on a strand unless it is stylized into a
zoomorphic element or spiral. Pure knots should always be unending. On this
point of ornamental grammar you can distinguish much that is made to look like
Celtic design by designers who do not really know the tradition. The Coptic
examples of knotwork that pre-date the early Irish work are.

The
early Celts left behind an enduring legacy of almost hypnotic knots, fierce
beasties, and spirals, some of them drawn so finely that people called them
"the work of angels". What they did not leave behind was a Rosetta
stone, if you will, saying that one particular knot stood for strength and
another one meant love, etc.
We know that the
Celts believed strongly in the interconnectedness of all life, and that their
interlaced patterns reflected this belief. We can glean a bit more information
about their symbols and beliefs from the old Celtic myths and legends.

But
without better evidence, we are not willing to ascribe certain meanings to the
various knots we sell. We're willing to bet, though, that as you wear and enjoy
our jewelry, it will take on its own special significance just for you. Click on
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Celtic Wedding Rings Collection. Top=

Traditionally,
claddaghs are expressions of love and friendship. Like most traditional symbols, the origin of the claddaugh has been obscured by the passage of time. It is almost certainly from the Irish fishing village of Claddaugh, near Galway. Some stories say that
"back in the 16th Century a young love torn jeweller from Galway in Ireland named Richard Joyce was kidnapped by pirates. Thinking of the girl he left behind, he designed a ring to express how he felt. It consisted of a heart to express his love, a crown for his loyalty and hands for their friendship. On returning after 5 years he was delighted to learn she had not married, he then presented the ring to her. The Claddagh has been worn as a wedding ring ever since."
Others say the design was brought back from the Crusades by a young man captured by the Saracens. Whatever its history, the claddaugh has become an enduring symbol of
affection. The heart in the center of the design represents love, the hands
that surround it represent friendship, and the crown at the top (if present) is
symbolic of fidelity.

Claddaghs are worn on the left hand, facing inward, if
your heart is spoken for. If you are unattached, wear the ring on your right
hand, facing outward. Click on
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Claddagh Jewelry Collection.Top=

Strictly speaking, a "Celtic cross" is not just any cross that has
Celtic knotwork on it. Celtic crosses are, in fact, much older than
Christianity. They are equal-armed crosses, enclosed or backed by a circle. The
cross can symbolize the four quarters of the earth, and/or the four elements
(earth, air, fire, and water). The circle is a symbol of eternity and the path
of the sun in the sky. After the introduction of Christianity, it became more
common to see the equal-armed cross atop a matching pedestal, which gave it a
more elongated form. Click on
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Pentacles
are composed of a five-point star enclosed within a circle. Pentacles can be
variously interpreted as representing the five elements (earth, air, fire,
water, and spirit), or the five stages of Life (birth, youth, adulthood, old
age, and death). In both cases, the path used to trace the star shape symbolizes
the continuity and connection between the extremes. The pentacle is
often used as a symbol of faith by Pagans, and particularly by Wiccans. Click on
the following link to visit ourCustom Celtic Jewelry Collection.Top=

Boar/Sow:
The boar is a symbol of masculine power. The meat of the boar was served at
Otherworld feasts for the deities. The sow is associated with some Crone/Mother
Goddesses, such as Cerridwen, and with Otherworldly feasts. The pig is the image/
archetypal symbol of plenty, healing, and shape shifting. Top=

Bull:
Figures heavily in what little Celtic creation mythology
surviving from Ireland, though this may not be Irish at all, but rather a myth
derived from a Middle Eastern source. In the Celtic world, the bull was a
symbol of virility, sovereignty, and wealth. The famous Irish legend, The
Cattle Raid of Cooley, surrounds the taking of a famous bull. In Ancient
Ireland, a tabhfheis, or a highly ritualized "feast of the bull",
always preceded the crowning of a new High King. Top=

Cat:
Unlike many other Indo-European cultures, the Celts did not
revere cats, though there are many references to them in Celtic mythology.
Archtypally they serve the same guardian function as demons/angels in the
Judeo-Christian myths. Three mythic references to cats which are prominent are;
one, a cat which helps to guard the gates of the Otherworld; two, one who is
able to shapeshift into a ball of fire; and three, one called Irusan of Knowth
who stole humans like the faery. Cat-like monsters were also believed to dwell
in dark caves. Top=

Crane:
Numerous Celtic myths tell us of a heroic figure or
deity who was changed into a crane such as Aife, the Lady of the Lake, or
Munanna. Archetypally this bird means an apparent, rather than substantive,
change. A sign of, or punishment for, deception. Top=

Deer /
Stag:
The deer was the principal animal hunted by the
Celts for food. The doe was associated with most woodland Goddesses, such as
Saba and Flidais, and is their totem animal. The stag was often seen as the
incarnate form of woodland Gods such as Cernunnos. White stags were considered
to be from the Otherworld and, in myth, their appearance always heralded some
profound change in the lives of those in the story. Considered in Celtic
mythology to be among the oldest creatures in existence. Top=

Dog:
Sacred to the faeries of Ireland and Scotland probably
because they were held in high regard by the Tuatha de Danann. Many Celtic
myths involve dogs or dog familiars, which belonged to heroic figures or
deities, and wars were often fought for and over them such as the one between
Fionn MacCumhal and King Arthur. Examples of the importance of Celtic dogs are
found in the myths of Gwyn Ap Nuad, Cuchulain, Amaethaon, and Taliesin. Dogs
are also the archetypal symbols of shapeshifters. Top=

Dragon:
The dragon is another mighty magical animal that appears in
British and Welsh stories. It is, of course, a creature of fire but is also
related to the Power of the Land. Another word for Ley Lines is Dragon Lines.
Another name for raising power is to invoke the "Eye of the Dragon".
The whole Earth was viewed by the Druids as the body of the Dragon. Menhirs and
stone Circles were located at great Power nodes. The Celts also called Dragons
'Fire Drakes'. Top=

Eagle:
Eagles were the feared scavengers of Europe and were usually
linked to death Gods, such as Beli, in the same way as the crow was linked to
death Goddesses. In Welsh mythology, Llew was turned into an eagle at the
moment of his murder. Top=

Horse:
Horses were sacred to many Indo-European Goddesses, and often
filled the archetypal place given to cats in other cultures. They were linked
to the night, the moon, mystery, and magick. Nightmares, a name which is
derived from that of the female horse, were thought by the Celts to be brought
by a visiting horse Goddess such as Epona or Mare. In most Celtic myths the
horses are black or white. Top=

Ouzel:
Usually spelled Ouzel in the United States. This water bird is
known for its tenacious and deceptive personality. While it looks harmless
enough, it is revered for its ability to staunchly defend itself and its flock.
In myth, the Ouzel of Cilgwri once picked a smith's hammer down to the size of
a small nut. Top=

Raven/Crow:
The Crow is deeply linked to Crone Goddesses such as Badb,
and to Goddess of war or death like the Morrigan. The Raven is similar to the
crow in that it is deeply associated with death deities. But, while the crow is
usually reserved as a spirit form for feminine deities, the raven has been the
Otherworldly body for both Gods and Goddesses. Like the crow, it flew over
Celtic battlefields as the deity incarnate. The raven is most closely
associated with the Irish/Welsh God Bran. Top=

Salmon:
While the airborne creatures archetypally linked the Celts to
the Underworld, sea creatures linked them to great knowledge, sacred mysteries,
and deep emotion, (typically, only deities of great wisdom and temperament
ruled the Celtic seas). Most prominent among these wise sea creatures was the
Salmon of Knowledge. The myths of Nudons and Fionn are among the many dealing
with this fish. It is said to have acquired its great knowledge from eating the
Nine Hazels of Wisdom that fell from the Tree of Knowledge. This fish was
said to be among the oldest of living creatures. Top=

Serpent:
Represents the cyclic nature of life due to the annual
shedding of its skin. It is a phallic symbol, a symbol of the Triple Goddess,
and of the earth mysteries. It is important to the Druids, and is found on much
old Celtic jewelry. Contrary to popular myth, there are snakes in Ireland,
though they are pretty much confined to the rugged western region of the
Island. Top=

Geometric
motifs have always been prominent in Celtic artwork. Some of the motifs or symbols
date back to 3000 BC and can still be seen today on stone carvings. Newgrange
in Ireland, is one of the oldest burial mounds in Europe and is highly
decorated with stone (see picture on the right) carvings depicting spirals,
lozenges, chevrons and key patterns.

The single spiral is the oldest and most recorded of these motifs. It
has symbolized the concept of growth, expansion, and cosmic energy, depending
on the culture in which it is used. To the ancient inhabitants of Ireland, the
spiral was used to represent their sun. A tightly wound, clockwise spiral
represented their shrinking winter sun.

A loosely wound anti-clockwise spiral represented the large summer
sun.

The dual centered spiral is also prolific in stone carvings. It has
associations with motifs from other cultures such as the Yin Yang symbol. It
signifies the duality of nature and balance.

A double spiral is used to represent the equinoxes, when day and
night are of equal length.

Triple centered spirals were used by the early Christian monks in
their illuminated manuscripts. It originated as a symbol of the Triple
Goddess (maiden, mother, crone, also represented by the waxing, full and
waning moon), pre-dating Christianity. In fact, most of Christianity's
holidays and symbols are taken from Pagan mythology.

Chevrons resemble arrowheads used by hunters and warriors alike and
were a symbol of power among the Celts. The motif is nearly heart shaped and
occurs as repeat band patterns in ornamentation.

Flowing scroll patterns were used for decoration rather than symbolic
purposes. the Book of Durrow, an illuminated manuscript contains many fine
examples of such patterns.

Celtic knotwork designs vary from the elegant single knot and double
knot patterns to the very sophisticated interlaced patterns.

The Ulbster Cross depicted here is a fine example of interlaced
knotwork. A single thread is used, symbolizing eternity.

The key patterns of Celtic art are really spirals composed of
straight lines. It is another universal pattern attributed largely to the
Greeks, but in fact originated in the Ukraine some 15,000 years earlier.

The borders of the illuminated manuscripts, the Book of Kells, Book
of Durrow, and the Book of Lindisfarne are adorned by various patterns - spiral
patterns, key patterns, interlacing, plaiting and ropework.

The
variations on the motifs and patterns presented here are limitless The above is
merely a selection of interest to the craftsman. The motifs have been
interpreted and adapted for this range of Celtic jewelry by John Frayne. Click on
the following link to visit ourCustom Celtic Jewelry Collection.Top=